一座可能為「宅庭」的現象－ 園林自然、身體空間與繪畫創作關係之探究
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2014
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在繪畫創作的題材裡，自然風景中所蘊藏的幻妙與神秘，一直以來都吸引著畫家注目的眼光，宛如理想之域的形象。相對於西方至十六世紀，才逐漸成形的「風景」繪畫，中國「山水畫」已於很早之時就獨立且一直倍受重視。其中，盛行於唐代「園林」文化的景觀美學，除了如畫般建構出可居又可遊的真實空間，又同時被歸納為山水繪畫題材的一環。「園林」設計介於複製自然與人為操縱，符合人居於世所需各種條件的夢想之地。此造景空間的內容和功能，在早期社會中時常伴隨貴族遊憩和文人雅集等活動被塑造，至唐宋時期更為盛行。特別以唐代的「私家園林」為例，因社會階層和居住環境的變動，發展出獨特的住宅園林與遊賞方式，更接近現代城市中，住宅裡的小型庭院與前庭花圃形式的思維縮影。
本文的研究內容和創作方向，是以上述的文史資料，作為對傳統山水畫和園林文化認識為基礎，再透過梅洛龐蒂的「知覺現象」的觀點，重新審視我們原有認定的園林自然和模式，是如何再造與轉變；習慣對固有空間的認知與看待事物的方式，還隱含著多少可見的範圍與未知現象。回歸到自身為開始，探討主體的生活空間與原初的身體空間，開啟「身體」知覺所能感受和可見的「肉身」世界。利用「身體意向性」來形構出知覺之後的知覺空間與內容，再將此知覺感受移轉到繪畫行為跟平面圖像，創作出屬於平面繪畫的知覺現象。其中，還採用建築空間之「間」的理論，運用在實體園林空間和繪畫空間的創作實驗上。從可知覺的「間」，嘗試轉換到第二層的繪畫空「間」，以處理平面化的圖像與視覺的時空感等意象，使作品的言說得以再次獨立，重塑觀者對作品所營造的知覺空間與情境的印象。
In the subject matters for painting creation, the fantasy and myths contained in the natural scenery have been catching painters’ attentive eyes, like an image in the realm of idealness. It is not until the 16th century when the Western scenery painting was taking shape gradually, but the Chinese landscape painting has long grown independent and significant since much earlier times. Therein, the landscape aesthetics of the “garden” culture prevailing in the Tang Dynasty not only constructed a real picturesque space for living and traveling but also was categorized as one of the subject matters for landscape paintings at the same time. The "garden" design falls between natural replication and artificial manipulation, meeting various conditions to be a human living place like a dreamland. In the former society, the contents and functions of landscaping spaces were shaped by the accompanying activities of aristocratic playing and resting and scholarly gathering. It’s much so in the Tang and Song Dynasties. Take as a particular example the Tang Dynasty's “private garden”, because of changes in social class and living environment, it was uniquely developed as a garden for residence and pleasure touring, further closer to the thinking epitome of the small yard and forecourt garden in the residence of modern city. The study content and creative direction of this article have been based on the above-mentioned historical data to understand the traditional landscape painting and garden culture as the basis and then through the viewpoint of Merleau-Ponty's “Phenomenology of Perception” to re-examine how the garden nature and pattern originally identified by us was reshaped and transformed and how much the visible scope and unknown phenomenon was implied in the habitual perception of inherent space and our way of looking at things. Let’s return to ourselves as the start point to explore the body-subject’s living space and the original body space and open the world of “leib” which can be felt or seen by the “body” perception. Also the “body intentionality” was used to shape up the perceptual space and content after perception. Then the perceptual feeling was transferred to painting behaviors and plane images, and thus a perceptual phenomenon belonging to plane painting was created. In addition, the “interval” theory of architectural space was adopted and used in the experiment to create both the physical garden space and painting space. I also tried to transfer the perceivable “interval” to the second tier of painting “interval” to deal with the plane pictures and the images from visual sense of time and space, so that works might speak again independently for themselves and help the viewers to reshape the impression on the perceptual space and situation built up by the works.
In the subject matters for painting creation, the fantasy and myths contained in the natural scenery have been catching painters’ attentive eyes, like an image in the realm of idealness. It is not until the 16th century when the Western scenery painting was taking shape gradually, but the Chinese landscape painting has long grown independent and significant since much earlier times. Therein, the landscape aesthetics of the “garden” culture prevailing in the Tang Dynasty not only constructed a real picturesque space for living and traveling but also was categorized as one of the subject matters for landscape paintings at the same time. The "garden" design falls between natural replication and artificial manipulation, meeting various conditions to be a human living place like a dreamland. In the former society, the contents and functions of landscaping spaces were shaped by the accompanying activities of aristocratic playing and resting and scholarly gathering. It’s much so in the Tang and Song Dynasties. Take as a particular example the Tang Dynasty's “private garden”, because of changes in social class and living environment, it was uniquely developed as a garden for residence and pleasure touring, further closer to the thinking epitome of the small yard and forecourt garden in the residence of modern city. The study content and creative direction of this article have been based on the above-mentioned historical data to understand the traditional landscape painting and garden culture as the basis and then through the viewpoint of Merleau-Ponty's “Phenomenology of Perception” to re-examine how the garden nature and pattern originally identified by us was reshaped and transformed and how much the visible scope and unknown phenomenon was implied in the habitual perception of inherent space and our way of looking at things. Let’s return to ourselves as the start point to explore the body-subject’s living space and the original body space and open the world of “leib” which can be felt or seen by the “body” perception. Also the “body intentionality” was used to shape up the perceptual space and content after perception. Then the perceptual feeling was transferred to painting behaviors and plane images, and thus a perceptual phenomenon belonging to plane painting was created. In addition, the “interval” theory of architectural space was adopted and used in the experiment to create both the physical garden space and painting space. I also tried to transfer the perceivable “interval” to the second tier of painting “interval” to deal with the plane pictures and the images from visual sense of time and space, so that works might speak again independently for themselves and help the viewers to reshape the impression on the perceptual space and situation built up by the works.
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山水畫, 園林, 知覺現象, 身體, 間, landscape painting, garden, phenomenology of perception, body, interval